Ampex Tape-Type List

Total Page:16

File Type:pdf, Size:1020Kb

Ampex Tape-Type List Ampex Tape-Type List Compiled by Scott Dorsey, NASA Langley Research Center This list started out as a response to the huge number of people asking questions about surplus instrumentation tape, developed into a short description on identifying Ampex tapes, and then developed into an attempt at categorizing all Ampex tapes made. This list is far from complete but is a good beginning: Note: All tapes backcoated unless otherwise indicated NB= Non-Backcoated LNER= Low Noise Extended Range LNHO= Low Noise High Output ----------------------------------------------- 021-- 1 mil rejected NB acetate tape (sold as Shamrock) (early 60s) 031-- 1.5 mil rejected mastering tape (maybe 406, 456, etc. depending on batch) (Was available in 2500' pancakes as well as 7" reels in 1983) 041-- 1 mil version of 031 in 7" only 051-- 0.5 mil rejected NB acetate tape (sold as Shamrock) (early 60s) 101-- Betamax half-inch videocassette (intro before 1978) 102-- VHS videocassette (late seventies) 142-- Helical 2" format video tape for VR-660/1500 (1962-?) 144-- Transverse scan video tape (1964-?) for quad-format machines 145-- Helical 2" formulated for VR-660/1500 video recorders (1966-?) backcoated 147-- A-format tape formulated for VR-7000 video recorders (1965-?) 148-- High Band 2" video tape (B&W) 161-- 1" videotape (1968-?) 163-- 1/2" helical scan industrial videotape (1968-?) 164-- 1/2" helical scan videotape for color use 165-- 1" videotape for IVC 600/800 series recorders 167-- U-Matic videocassette (replaced by 187/197) (late seventies, sold in 83) (Sometimes this is labelled KCA-xx where xx indicates running time) 174-- 1/2" helical scan industrial videotape (1970s?) 175-- 2" Quad tape (backcoated) replacing 144 (sold until 1990) 187-- U-Matic videocassette (Sometimes this is labelled KCA-xx where xx indicates running time) 188-- Older Beta videocassette 189-- VHS videocassette, NB (discontinued 199x?) 190-- 1" IVC/Sony format videotape (1983) 192-- 1" videotape (1970s) (replaced by 196) 194-- 1/2" helical scan industrial videotape (1970s through 1983) 196-- 1" B-format helical videotape (comes in two versions, earlier chrome later cobalt oxide), wound oxide out. 197-- U-Matic 3/4" videocassette (coexists with 187, better quality tape) 198-- Beta videocassette (oxide) (replaced by 208) (1987-??) 199-- VHS videocassette, NB (? to sometime between 1990 and 1995) 208-- Betacam 1/2" broadcast videocassette (oxide, not metal) (changed to BC in 1998) 211-- 1.5 mil NB Irish ??? (1963 sample) 219-- D-1 digital videocassette (replaced by 229) (1990) 220-- Degaussing and head cleaning cartridge for cassettes (not real tape) 228-- Degaussing and head cleaning cartridge for 8-track tape (not real tape) 229-- D-1 digital videocassette (renamed D1V in 1998) 288-- Hi-8mm videocassette 289-- S-VHS videocassette 291-- 1.5 mil polyester 1/4" audio on 7" reel. 292-- 1.0 mil polyester 1/4" audio backcoated on 7" reel, black oxide. 296-- 1" C-format helical videotape 297-- U-Matic SP videocassette 298-- Betacam SP 1/2" videocassette (metal) (replaced by 398) (1990) 301-- General purpose audio NB tape available on reel or cassette (1968-?) 304-- Tape optimized for low speed logging use (1968-?) 311-- Irish version of 511 (1962) 319-- D-2 digital videocassette (replaced by 329) (1988) 321-- Irish version of 521 (1962) 329-- D-2 digital videocassette 331-- Irish version of 531 (1962) 332-- 1.5 mil "Plus Series" NB consumer 1/4" tape (185 nWb/m) (1970s-1980s) 341-- Irish version of 541 (1962), later sold in orange Ampex box 342-- 1 mil "Plus Series" NB consumer 1/4" tape (185 nWb/m) (1970s-1980s) 344-- 1 mil PE, low noise, non-backcoated 1/4" tape. (available in 1973) 345-- 1.5 mil red oxide tape (recommended for B&K 7004 recorder) (av in 1976) 351-- Irish version of 551 (1962) 352-- LO-NOISE compact cassette (lowest grade) (1978) 361-- Compact cassette tape (1969-?) 364-- 20/20 Plus cassette tape (mid-grade) (pre-1978 to 1983) 365-- Grand Master type I cassette tape (pre-1978 to 1983) 366-- Grand Master type II cassette tape (pre-1978 to 1983) 370-- HOLN cassette tape lowest-grade (discontinued 1983) 371-- Plus Series cassette tape (lower grade) (1978) 372-- Ampex 406 on 7" reels for consumer use (mid/late 70s). "20-20 series" 373-- 1 mil version of 372 381-- Low grade 8-track cartridge (1976) 382-- Plus Series 8-track cartridge (1978) 388-- 20/20 Plus Series 8-track cartridge (1978) 389-- Grand Master 8-track cartridge (1978) 398-- Betacam SP videocassette (metal) (renamed BSP in 1998) 401-- 1.5 mil mastering tape.... probably pre-1965 404-- low-noise NB mastering tape (1965-?) 406-- 1.5 mil mastering tape (260 nWb/m) 407-- 1 mil version of 406 408-- 406 wound slightly differently for Nagra recorders. (Intro 1997) 411-- 1.5 mil NB (sample dated 1964) 414-- 1.5 mil NB. Very dark oxide. 434-- 1.5 mil non-backcoated high-output brown-oxide consumer tape (1960s) 444-- 1 mil version of 434 456-- 1.5 mil mastering tape (370 nWb/m) 457-- 1 mil version of 456 (by 1992 available only in 7" 1/4" reel) 460-- Digital audio tape (backcoated) for 3M machines (deleted 1982) 467-- 4mm DAT tape backcoated, now called DAT (1998) 467-- U-Matic oxide tape for digital audio, now called DAU (1998) 467-- Oxide 1/4" NAGRA-D, 1" for Pro-Digit, 1/2" for DASH tape for digital audio 472-- Stereo audio cassettes (CrO2, NB) (250 nW/m) 478-- 1.5 mil low-print mastering tape (250 nWb/m) 480-- 1.5 mil Quantegy equiv. of 3M 908, modified 478 coat w/ smoother B (1997) for Nagra 488-- 8mm tape designed for DTRS (Tascam DA-88) use, backcoated. (now DA8 in 98) 489-- S-VHS tape designed for Alesis ADAT use, backcoated. (now ADAT in 98) 499-- 1.5 mil mastering tape (520 nWb/m) 511-- 1.5 mil acetate version of 531 (1962) 521-- 1 mil acetate version of 531 (1962) 531-- "premium tape for semi-professional and home use" 1.5 mil NB Mylar 5", 7" (1962). Red oxide 541-- 1.0 mil Mylar base version of 531 (1962) Looks like later 641 tape. 551-- 0.5 mil Mylar base version of 531 (1962) 601-- .66 mil Cassette duplicating pancakes (NB) (1978) 602-- .44 mil version of 601 603-- .66 mil High performance cassette pancake (NB) (1979) 604-- .44 mil version of 603 607-- Thick standard bias cassette loads (NB) (1983) 608-- Thin standard bias cassette loads (NB) (1983) 609-- Thick chrome cassette loads (NB) (1983) 610-- Thin chrome cassette loads (NB) (1983) 611-- 1.5 mil brown oxide NB acetate (7" samples dated to 1963-1971) 617-- 0.5 mil FeO2 cassette bulk-load pancake 618-- 0.3 mil version of 617 619-- .62 mil cassette duplication pancake (pre-1988-1993) 620-- .46 mil version of 619 (pre-1988-1993) 621-- 1 mil version of 611 631-- 1.5 mil non-backcoated "red oxide" voice-grade audio tape (185 nW/m) 632-- 1.5 mil non-backcoated "brown oxide" LNHO duplicating tape (185 nW/m) 638-- Empty 7" 1/4" accessory reel (not tape) 641-- 1 mil version of 631 (1960s-present) 642-- 1 mil equivalent of 632 651-- 0.5 mil version of 641 660-- HOLN black shell bulk cassettes (discontinued 1983) 661-- 0.5 mil version of 641 with thinner oxide (1968-present) (cassette or 1/4) 671-- 0.75 mil LNER non-backcoated extended-length tape (cassette or 1/4) 672-- FeO2 audio cassette (discontinued 1993) 674-- Cassette, low noise for high speed duplication. (existed in 1978, not now) 675-- 8-track cartridge pancakes, back-lubricated 678-- Cassette (discontinued) 700-- 1 mil NB low speed logging with very thick coating (1978) 701-- 1 mil NB low speed logging tape (replaced by 704) (1978) 702-- 1 mil backcoated tape with same coating as 701 (1978) 703-- 0.5 mil version of 702 (1978) 704-- 1 mil non-backcoated low speed logging tape 705-- 1 mil backcoated low speed logging tape (same coating as 704) seen in 1/2" 706-- 0.5 mil backcoated low speed logging tape (same coating as 704) 721-- 1 mil Digital PCM instrumentation tape (cobalt) 722-- 0.8 mil Double Density digital PCM instrumentation tape (cobalt) 731-- Data cartridge for Ampex Digital Cassette Recorder (lower error rate) 733-- Data cartridge for Ampex Digital Cassette Recorder 738-- ?? NB instrumentation- 741-- ?? NB instrumentation- (circa 1962) 756-- 1 mil Intermediate band NB instrumentation- replaced by 766 in 1984 760-- Wideband instrumentation tape, NB (1966) 761-- 1 mil standard coat 1" or 1/2" NB low band FM instrumentation (1965) 762-- 1 mil thin coating 1" or 1/2" NB low band FM instrumentation (1965) 763-- 1.5 mil standard coat 1" or 1/2" NB low band FM instrumentation (1965) 764-- 1.5 mil thin coating 1" or 1/2" NB low band FM instrumentation (1965) 766-- 1 mil Intermediate band NB instrumentation- replaced by 767 in 1986 767-- 1 mil Intermediate band instrumentation tape 770-- Wideband instrumentation tape, NB (1966) 771-- Tape for FR-1800 instrumentation recorder (1965) 775-- 2" transverse scan instrumentation tape (probably selected 175) 782-- 1 mil wideband NB instrument tape (1972 or so) (replaced by 787) 786-- 1 mil NB High Resolution (1978) 787-- 1 mil backcoated High Resolution (1978) (replaced by 797) 795-- High Resolution (intermediate band with low drop-outs) instrumentation 79A-- Variant of 797 made for government use only 797-- 1 mil wideband instrumentation tape 799-- 1 mil High bit density digital PCM tape 830-- General name for 831, 832, 833 tape series of computer tapes 830-- (duplicate name) full track 7.5 ips alignment tape 831-- computer tape (1966-1968) 831-- (duplicate number) 1/4-track 3 3/4 ips alignment tape 832-- 1/2" computer tape (1965-1968) 834-- Computer tape (1966-1968) 835-- (duplicate number) 1/4-track 7.5 ips alignment tape 836-- 1/2" 1600 bpi computer tape (1965-late 70s?) 837-- Computer tape (1966-1968) 838-- 1/2" computer tape (1965-1968) 870-- General name for 871, 872, 873 tape series 871-- 556 bpi 7-track format IBM-compatible tape with new binder (1968) 872-- 800 bpi 7-track format IBM-compatible tape with new binder (1968) 873-- 800 bpi 9-track format IBM-compatible tape with new binder (1968) 8206-- 1 mil backcoated low speed logging tape (a 3M design), similar to 705.
Recommended publications
  • Sony Recorder
    Sony Recorder www.ctlny.com 24 All prices subject to change DVCAM, J-Series, Portable & Betacam Recorders DVCAM Recorders J-Series Betacam Recorders SP Betacam Recorders Sony Model# DSR1500A Sony Model# J1/901 Sony Model# PVW2600 Sales price $5,680.08 Sales price $5,735.80 Sales price $12,183.36 Editing recorder also play Beta/SP/SX Player w/ Betacam SP Video Editing DVCPRO,SDI-YUV Component Output Player with TBC & TC optional 8-3/8 x 5-1/8 x 16-5/8 16-7/8 x 7-5/8 x 19-3/8 Model # List Sales price Model # List Sales price Model # List Sales price DSR1500A $7,245.00 $5,680.08 J1/901 $6,025.00 $5,735.80 PVW2600 $15,540.00 $12,183.3 Editing recorder also play DVCPRO,SDI-YUV optional Beta/SP/SX Player w/ Component Output Betacam SP Video Editing Player with TBC & TC 6 DSR1600 $6,975.00 $5,468.40 J1/902 $7,050.00 $6,711.60 PVW2650 $22,089.00 $17,317.7 Edit Player w/ DVCPRO playback, RS-422 & DV Output Beta/SP/SX Editing Player w/ SDI Output Betacam SP Editing Player w. Dynamic Tracking, TBC & TC8 DSR1800 $9,970.00 $7,816.48 J2/901 $10,175.00 $9,686.60 PVW2800 $23,199.00 $18,188.0 Edit Recorder w/DVCPRO playback,RS422 & DV Output IMX/SP/SX Editing Player w/ Component Output Betacam SP Video Editing Recorder with TBC & TC 2 DSR2000 $15,750.00 $13,229.4 J2/902 $11,400.00 $10,852.8 UVW1200 $6,634.00 $5,572.56 DVCAM/DVCPRO Recorder w/Motion Control,SDI/RS422 4 IMX/SP/SX Editing Player w/ SDI Output 0 Betacam Player w/ RGB & Auto Repeat Function DSR2000P $1,770.00 $14,868.0 J3/901 $12,400.00 $11,804.8 UVW1400A $8,988.00 $7,549.92 PAL DVCAM/DVCPRO
    [Show full text]
  • Order on Reconsideration and Further Notice of Proposed Rulemaking
    Federal Communications Commission FCC 13-84 Before the Federal Communications Commission Washington, D.C. 20554 In the Matter of ) ) Closed Captioning of Internet Protocol-Delivered ) MB Docket No. 11-154 Video Programming: Implementation of the ) Twenty-First Century Communications and Video ) Accessibility Act of 2010 ) ORDER ON RECONSIDERATION AND FURTHER NOTICE OF PROPOSED RULEMAKING Adopted: June 13, 2013 Released: June 14, 2013 Comment Date: (60 days after date of publication in the Federal Register) Reply Comment Date: (90 days after date of publication in the Federal Register) By the Commission: Commissioner Pai approving in part, concurring in part and issuing a statement. TABLE OF CONTENTS Heading Paragraph # I. INTRODUCTION.................................................................................................................................. 2 II. BACKGROUND.................................................................................................................................... 3 III. ORDER ON RECONSIDERATION ..................................................................................................... 5 A. Petition for Reconsideration of the Consumer Electronics Association .......................................... 5 1. Scope of the Apparatus Closed Captioning Rules..................................................................... 5 2. Application of the Apparatus Rules to Removable Media Players ......................................... 16 3. Application of the January 1, 2014 Deadline Only
    [Show full text]
  • Will Sonyâ•Žs Fourth Playstation Lead to a Second Sony V. Universal?
    WILL SONY’S FOURTH PLAYSTATION LEAD TO A SECOND SONY V. UNIVERSAL? † SETH ASCHER ABSTRACT Sony has included a “share” button on the next version of their popular PlayStation video game system. This feature is meant to allow players to record and share videos of their gameplay. This service shares similarities with the controversial “record” button that Sony included with its Betamax players over thirty years ago. The Betamax player was the subject of the landmark case Sony v. Universal, a foundational case for the modern application of copyright law to new technology. This Issue Brief examines how this “share” feature would fare under the framework laid out by Sony v. Universal and other evolutions in copyright law. INTRODUCTION On February 20, 2013, Sony announced their newest videogame system, predictably named the PlayStation 4.1 Chief among its new features is the share button displayed prominently on its controller.2 Microsoft’s newest offering also has a similar feature.3 Pressing the share button will allow a player to post images or videos of their gameplay to the internet, sharing them with their friends and complete strangers.4 The PlayStation 4 even buffers the last few minutes of gameplay so that a player can share their gameplay video after the fact.5 Sony’s intention is to provide an easy way for players to share images and videos online. Copyright © 2014 by Seth Ascher. † Duke University School of Law, J.D. 2014. 1 Video of the press announcement is available on numerous websites. E.g., Sony PlayStation 4 Press Conference, GAMESPOT (Feb.
    [Show full text]
  • A Comparison of the US Supreme Court's <I
    Columbia Law School Scholarship Archive Faculty Scholarship Faculty Publications 2006 Inducers and Authorisers: A Comparison of the US Supreme Court's Grokster Decision and the Australian Federal Court's KaZaa Ruling Jane C. Ginsburg Columbia Law School, [email protected] Sam Ricketson [email protected] Follow this and additional works at: https://scholarship.law.columbia.edu/faculty_scholarship Part of the Comparative and Foreign Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Jane C. Ginsburg & Sam Ricketson, Inducers and Authorisers: A Comparison of the US Supreme Court's Grokster Decision and the Australian Federal Court's KaZaa Ruling, MEDIA & ARTS LAW REVIEW, VOL. 11, P. 1, 2006; U OF MELBOURNE LEGAL STUDIES RESEARCH PAPER NO. 144; COLUMBIA PUBLIC LAW RESEARCH PAPER NO. 06-105 (2006). Available at: https://scholarship.law.columbia.edu/faculty_scholarship/1401 This Working Paper is brought to you for free and open access by the Faculty Publications at Scholarship Archive. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Scholarship Archive. For more information, please contact [email protected]. MELBOURNE LAW SCHOOL Legal Studies Research Paper Studies Paper No. 144 And COLUMBIA LAW SCHOOL Public Law and Legal Theory Research Paper Series Paper No. 06-105 Inducers and Authorisers: A Comparison of the US Supreme Court’s Grokster Decision and the Australian Federal Court’s KaZaa Ruling PROFESSOR JANE GINSBURG COLUMBIA LAW SCHOOL -And- PROFESSOR SAM RICKETSON UNIVERSITY OF MELBOURNE This paper can be downloaded without charge from the Social Science Research Network Electronic Library at: http://ssrn.com/abstract=888928.
    [Show full text]
  • DV-983H 1080P Up-Converting Universal DVD Player with VRS by Anchor Bay Video Processing and 7.1CH Audio
    DV-983H 1080p Up-Converting Universal DVD Player with VRS by Anchor Bay Video Processing and 7.1CH Audio DV-983H is the new flagship model in OPPO's line of award-winning up-converting DVD players. Featuring Anchor Bay's leading video processing technologies, 7.1-channel audio, and 1080p HDMI up-conversion, the DV-983H Universal DVD Player delivers the breath-taking audio and video performance needed to make standard DVDs look their best on today's large screen, high resolution displays. The DV-983H provides a rich array of features for serious home theater enthusiasts. By applying source-adaptive, motion-adaptive, and edge-adaptive techniques, the DV-983H produces an outstanding image for any DVD, whether it’s mastered from an original theatrical release film or from a TV series. Aspect ratio conversion and multi-level zooming enable users to take full control of the viewing experience – maintain the original aspect ratio, stretch to full screen, or crop the unsightly black borders. Special stretch modes make it possible to utilize the full resolution of ultra high-end projectors with anamorphic lens. For users with an international taste, the frame rate conversion feature converts PAL movies for NTSC output without any loss of resolution or tearing. Custom home theater installers will find the DV-983H easy to integrate into whole-house control systems, thanks to its RS-232 and IR IN/OUT control ports. To complete the home theatre experience, the DV-983H produces stunning sound quality. Its 7.1 channel audio with Dolby Digital Surround EX decoding offers more depth, spacious ambience, and sound localization.
    [Show full text]
  • Digital Audio Basics
    INTRODUCTION TO DIGITAL AUDIO This updated guide has been adapted from the full article at http://www.itrainonline.org to incorporate new hardware and software terms. Types of audio files There are two most important parameters you will be thinking about when working with digital audio: sound quality and audio file size. Sound quality will be your major concern if you want to broadcast your programme on FM. Incidentally, the size of an audio file influences your computer performance – big audio files take up a lot of hard disc space and use a lot of processor power when played back. These two parameters are interdependent – the better the sound quality, the bigger the file size, which was a big challenge for those who needed to produce small audio files, but didn’t want to compromise the sound quality. That is why people and companies tried to create digital formats that would maintain the quality of the original audio, while reducing its size. Which brings us to the most common audio formats you will come across: wav and MP3. wav files Wav files are proprietary Microsoft format and are probably the simplest of the common formats for storing audio samples. Unlike MP3 and other compressed formats, wavs store samples "in the raw" where no pre-processing is required other that formatting of the data. Therefore, because they store raw audio, their size can be many megabytes, and much bigger than MP3. The quality of a wav file maintains the quality of the original. Which means that if an interview is recorded in the high sound quality, the wav file will be also high quality.
    [Show full text]
  • Professio Nal VHS Videotape C I Ea N E R/L N S Pe Cto R/R Ew I N D E R
    Professio nal VHS Videotape C I ea n e r/l n s pe cto r/R ew i n d e r Tzpeflle* Makes Them Last Longer... Finds Damage So You Can... Play Better! Fix Them,., Reduces VCR Maintenance! Retire Them.,. or Replace Them! uuww,rtico.GCDm Researctr Technology Products for Videotape Care from l-t-fi Interrrational For All Professional \ftlS \ LIBRARIES. Give your patrons the quality they. EDUCATIONAL MEDIA & TECHNOLOGY CENTERS. PUBLIC Extend the useful life olyour tapes. Add newtitles Ertend the usefullife of your tapes. Provide your students 0"""r". tnrn replacements".Be confident you are circulating and teachers with an exira margin of quality. Circulate c/ean r"tf't"t gooO tapbs. Verify patron complaints imm€diately' tapes. lnspectihe quality ol tapes. Why spend hours onty are damaged and remove them from tebiously viewing tapes io find the damaged ones? kn6vilwnicn'tapes TapeChek models are fasf and simplelo TapeOhbk doeslt for you quickly and automatically! circulation, operate...just insert the tape and press a button! Tapzfhek 400 Series VHS Videotape Cleaner/lnspectors TOP.OF.THE.LINE MODELS 480 AND 490 INCLUDE 3-CHANNEL oEreCrtON SvSTEM, COMPREHENSIVE TAPE INFORMATION DISPLAY AND PRINTER INTERFACE . Tape lnformation Display"'provides . Cleans...specially formulated cleaning tissue gently Comprehensive defect data and tape length, plus diagnostics wioes awav dirt anO other debris from the tape. Eliminates reoorts'of information (Displays 1 through 5). temporary'dropouts and helps to keep VCRs clean' and setup entry of date, tape' . Polishes...sapphire burnisher removes loose oxide, the . Data Entry Keypad...permits number for printed reports.
    [Show full text]
  • Media Draft Appendix
    Media Draft Appendix October, 2001 P C Hariharan Media Historical evidence for written records dates from about the middle of the third millennium BC. The writing is on media1 like a rock face, cave wall, clay tablets, papyrus scrolls and metallic discs. Writing, which was at first logographic, went through various stages such as ideography, polyphonic syllabary, monophonic syllabary and the very condensed alphabetic systems used by the major European languages today. The choice of the medium on which the writing was done has played a significant part in the development of writing. Thus, the Egyptians used hieroglyphic symbols for monumental and epigraphic writing, but began to adopt the slightly different hieratic form of it on papyri where it coexisted with hieroglyphics. Later, demotic was derived from hieratic for more popular uses. In writing systems based on the Greek and Roman alphabet, monumental writing made minimal use of uncials and there was often no space between words; a soft surface, and a stylus one does not have to hammer on, are conducive to cursive writing. Early scribes did not have a wide choice of media or writing instruments. Charcoal, pigments derived from mineral ores, awls and chisels have all been used on hard media. Cuneiform writing on clay tablets, and Egyptian hieroglyphic and hieratic writing on papyrus scrolls, permitted the use of a stylus made from reeds. These could be shaped and kept in writing trim by the scribe, and the knowledge and skill needed for their use was a cherished skill often as valuable as the knowledge of writing itself.
    [Show full text]
  • Dual Digital Audio Tape Deck OWNER's MANUAL
    » DA-302 Dual Digital Audio Tape Deck OWNER’S MANUAL D00313200A Important Safety Precautions CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALI- Ü FIED SERVICE PERSONNEL. The lightning flash with arrowhead symbol, within equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure ÿ that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the pres- ence of important operating and maintenance (servicing) instructions in the literature Ÿ accompanying the appliance. This appliance has a serial number located on the rear panel. Please record the model number and WARNING: TO PREVENT FIRE OR SHOCK serial number and retain them for your records. Model number HAZARD, DO NOT EXPOSE THIS Serial number APPLIANCE TO RAIN OR MOISTURE. For U.S.A Important (for U.K. Customers) TO THE USER DO NOT cut off the mains plug from this equip- This equipment has been tested and found to com- ment. If the plug fitted is not suitable for the power ply with the limits for a Class A digital device, pur- points in your home or the cable is too short to suant to Part 15 of the FCC Rules. These limits are reach a power point, then obtain an appropriate designed to provide reasonable protection against safety approved extension lead or consult your harmful interference when the equipment is operat- dealer.
    [Show full text]
  • MINIDISC MANUAL V3.0E Table of Contents
    MINIDISC MANUAL V3.0E Table of Contents Introduction . 1 1. The MiniDisc System 1.1. The Features . 2 1.2. What it is and How it Works . 3 1.3. Serial Copy Management System . 8 1.4. Additional Features of the Premastered MD . 8 2. The production process of the premastered MD 2.1. MD Production . 9 2.2. MD Components . 10 3. Input components specification 3.1. Sound Carrier Specifications . 12 3.2. Additional TOC Data / Character Information . 17 3.3. Label-, Artwork- and Print Films . 19 3.4. MiniDisc Logo . 23 4. Sony DADC Austria AG 4.1. The Company . 25 5. Appendix Form Sheets Introduction T he quick random access of Compact Disc players has become a necessity for music lovers. The high quality of digital sound is now the norm. The future of personal audio must meet the above criteria and more. That’s why Sony has created the MiniDisc, a revolutionary evolution in the field of digital audio based on an advanced miniature optical disc. The MD offers consumers the quick random access, durability and high sound quality of optical media, as well as superb compactness, shock- resistant portability and recordability. In short, the MD format has been created to meet the needs of personal music entertainment in the future. Based on a dazzling array of new technologies, the MiniDisc offers a new lifestyle in personal audio enjoyment. The Features 1. The MiniDisc System 1.1. The Features With the MiniDisc, Sony has created a revolutionary optical disc. It offers all the features that music fans have been waiting for.
    [Show full text]
  • Ampex GS-OOS-22639 Magnetic Tape Recorders
    . ~ . / , . '. i I. Authorized Federal Supply Schedule Price List FSC Group 74 Pam III and II Contractor Ampex Audio, Inc. Contract No. GS-OOS·22639 Period July 23, 1959 through 'June 30, 1960 General Services Administration Federal Supply Service GSA Distribution Code 87 GS-OO -22&39 • AUTHORIZED FEDERAL SUPPLY SCHEDULE AMPEX AUDIO, INC . 1020 KIFER ROAD SUNNYVALE, CALIFORNIA 7 If the Ampex Audio Deale r has delivered the equipment from his stock the serial numbers HAl of units delivered and a receipt for delivery REC will accompany the original Government UNf Purchase Order sent to Ampex Audi o, Inc. PLA 8 m pe x Audio, Inc. will invoice to Government Ag nc y on all purchases under this contract. Determine item desired from ihis catalog. Dea l r s lis ted here in a r e not authorized to mod Lfy any portion of this contract. 2 The Government Agency may place an order STE with the nearest Ampex Audio Franchised 9 If a ny eq uipment is r eceived in damaged condi­ REe Dealer, and address the order as follows : ti on , the Government Agency will immediately UNf advise Ampex Audio, Inc., Sunnyvale, Calif. PLA AMPEX AUDIO, INC. by collec t wi re, indicating Purchase Order John Doe, Dealor numbe r, s erIal number of item (if any). extent Street Add ,ou of damage and when items may be inspected. City, Stale Note: For names of Deale rs in your area, write to Government Sales Department, 10 UNIT PRICE - - Eacb f. o. b. destination Con­ Ampex Audio, Inc., Sunnyvale, Cal if.
    [Show full text]
  • Videotape: Hardware, History and Applications
    VIDEOTAPE: HARDWARE, HISTORY AND APPLICATIONS Carole 0. Bell and Patricla A. Maetick In recent years, folklorists have begun to raco~nlzeand udllze visu4trCdir ao reeearch and communicative toolr. In 1967, Ralph Rinzler's film work was shown at the Amcrican Folklore Society meetings. Subsequently, films by Bess Lomax Hawes, William Ferris and Carl Fleiechhauer have demonstrated the applicability and importance of visual communication to the study of folklore. In general, however, folklorists have been reluctant to adopt this form of communication. They admire the research footage or fiaished filmic products of their colleagues, but ignore the implications of such work for future remearch into various aspects of traditional humur behavior, Videotape, a relatively new visual medium, ha^ contributed to an increaeine senee of urgency among visually-oriented social scientists. Technical improvements in recent years allow its consideration as an invaluable tool for folklore research. Portable videotape equipment was widely available by 1970, the year when standardization of this hardware became a reality. Greater numbers of people began to handle the equipment and ta rhare with one another the results of their efforts. With the increaoing availability of videotape recording system came the inevitable camparisens with film. Both are multi-media syetew utilizing two channels of trans- mission and reception of information, hopefully in an integrated manner. Yet, they are not the same. The initial distinction is the quality of realneee which video displays. Somehow, it is easier to reopond to the image captured on videotape; the content of the tape meem less removed from the present than that of film.
    [Show full text]